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\s16\sa245\nowidctlpar\faauto\rin0\lin0\itap0 \f18\lang1033\cgrid \sbasedon15 \snext15 CM4;}{\s17\sl240\slmult0\nowidctlpar\faauto\rin0\lin0\itap0 \f18\lang1033\cgrid \sbasedon15 \snext15 CM1;}{\s18\sa180\nowidctlpar\faauto\rin0\lin0\itap0 
\f18\lang1033\cgrid \sbasedon15 \snext15 CM5;}{\s19\sa420\nowidctlpar\faauto\rin0\lin0\itap0 \f18\lang1033\cgrid \sbasedon15 \snext15 CM6;}{\s20\sl203\slmult0\nowidctlpar\faauto\rin0\lin0\itap0 \f18\lang1033\cgrid \sbasedon15 \snext15 CM2;}{
\s21\sl240\slmult0\nowidctlpar\faauto\rin0\lin0\itap0 \f18\lang1033\cgrid \sbasedon15 \snext15 CM3;}{\s22\sa113\nowidctlpar\faauto\rin0\lin0\itap0 \f18\lang1033\cgrid \sbasedon15 \snext15 CM9;}{\s23\sa245\nowidctlpar\faauto\rin0\lin0\itap0 
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{\operator Middle School}{\creatim\yr2007\mo7\dy12\hr11\min35}{\revtim\yr2007\mo7\dy12\hr11\min35}{\printim\yr2006\mo1\dy12\hr17\min42}{\version2}{\edmins0}{\nofpages5}{\nofwords942}{\nofchars5375}{\*\company Heinemann}{\nofcharsws6600}{\vern16527}}
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{\pntxta )}}{\*\pnseclvl8\pnlcltr\pnstart1\pnindent720\pnhang{\pntxtb (}{\pntxta )}}{\*\pnseclvl9\pnlcrm\pnstart1\pnindent720\pnhang{\pntxtb (}{\pntxta )}}\pard\plain \s16\qj\ri2765\sa240\sl-300\slmult0\nowidctlpar\tx7020\faauto\rin2765\lin0\itap0 
\f18\lang1033\cgrid {\b\f0 The List }{\f0 
\par }\pard \s16\qj\ri2765\sl-300\slmult0\nowidctlpar\tx7020\faauto\rin2765\lin0\itap0 {\f0\fs22 \sect }\sectd \sbknone\linex0\colno1\colw9713\sectdefaultcl \pard\plain \s18\qj\ri2765\sl-280\slmult0\nowidctlpar\faauto\rin2765\lin0\itap0 \f18\lang1033\cgrid {
\f0\fs21 Do you remember the musical }{\i\f0\fs21 The Sound of Music }{\f0\fs21 and the song \ldblquote My Favorite Things\rdblquote ? What were some of the objects and events that Maria held close to her heart? Can you remember how the song goes? Let
\rquote s try to sing it together. The lyrics form a list of unrelated\emdash except by the fact that they are all items Maria likes\emdash things. You can use lists, too, to convey relationships. 
\par }\pard\plain \s15\ri2765\sl-280\slmult0\nowidctlpar\faauto\rin2765\lin0\itap0 \f18\cf1\lang1033\cgrid {\fs21 
\par }\pard\plain \s18\qj\ri2765\sl-280\slmult0\nowidctlpar\tx7020\faauto\rin2765\lin0\itap0 \f18\lang1033\cgrid {\f0\fs21 
What kinds of lists do we normally make in our busy lives? Shopping lists. To do lists. Lists of assignments. Books to pick up at the library. The list goes on and on! 
\par }\pard\plain \s15\ri2765\sl-280\slmult0\nowidctlpar\faauto\rin2765\lin0\itap0 \f18\cf1\lang1033\cgrid {\fs21 
\par }\pard\plain \s18\qj\ri2765\sl-280\slmult0\nowidctlpar\tx7020\faauto\rin2765\lin0\itap0 \f18\lang1033\cgrid {\f0\fs21 The list usually is written in a column, one item in a line. But you don\rquote 
t have to do it that way at all. Winston Weathers writes that in a list the writer just provides the \ldblquote data, the evidence, the facts, the objects.\rdblquote  He says that the writer presents a \ldblquote 
still life of objects without indication of foreground or background, without any indication of relative importance, without any suggestion at all of cause-effect, this-before-that, or the like\rdblquote  (1980, 88). 
\par }\pard\plain \s15\ri2765\sl-280\slmult0\nowidctlpar\faauto\rin2765\lin0\itap0 \f18\cf1\lang1033\cgrid {\fs21 
\par }\pard\plain \s18\qj\ri2765\sl-280\slmult0\nowidctlpar\tx7020\faauto\rin2765\lin0\itap0 \f18\lang1033\cgrid {\f0\fs21 Darrell Fike and Devan Cook give this example of listing in their essay \ldblquote \lquote Would You like Fries with That?\rquote 
 Ordering Up Some Writing: Fast Food for Thought\rdblquote  in }{\i\f0\fs21 Elements of Alternate Style: Essays on Writing and Revision}{\f0\fs21  edited by Wendy Bishop (1997, 14)}{\i\f0\fs21 . }{\f0\fs21 They write:
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\par }\pard\plain \s17\qj\ri2765\sl-280\slmult0\nowidctlpar\tx7020\faauto\rin2765\lin0\itap0 \f18\lang1033\cgrid {\f0\fs21 If you were making a list for an essay about pizza, you might start with a whole sentence or two and then make a list.
\par  \sect }\sectd \sbknone\linex0\colno1\colw9713\sectdefaultcl \pard\plain \s19\qj\li2160\ri2765\sl-280\slmult0\nowidctlpar\tx7020\faauto\rin2765\lin2160\itap0 \f18\lang1033\cgrid {\f0\fs21 Pizza is one of my favorite meals. 
\par Thin crust, thick crust 
\par Stringy melting cheese 
\par Saving some for later 
\par Picking off the pepperoni 
\par Who gets the last slice 
\par Waiting for the delivery. 
\par }\pard \s19\qj\ri2765\sl-280\slmult0\nowidctlpar\tx7020\faauto\rin2765\lin0\itap0 {\f0\fs21 \sect }\sectd \sbknone\linex0\colno1\colw9713\sectdefaultcl \pard\plain \s19\qj\ri2765\sl-280\slmult0\nowidctlpar\tx7020\faauto\rin2765\lin0\itap0 
\f18\lang1033\cgrid {\f0\fs21 
\par }{\f0\fs21\expnd0\expndtw-2 
You can use single words, shorter phrases, or longer phrases. Tom Romano suggests you use a minimum of five items, all related in subject matter, and all parts of a whole. Your list could be a poem by itself or a part of a longer prose piece.
\par }\pard \s19\qj\ri2765\sl-300\slmult0\nowidctlpar\tx7020\faauto\rin2765\lin0\itap0 {\f0\fs21\expnd0\expndtw-2 
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\par }\pard\plain \s20\ri2765\sl-200\slmult0\nowidctlpar\tx7020\faauto\rin2765\lin0\itap0 \f18\lang1033\cgrid {\f0\fs16 
\par \u169\'a92006 by Melinda Putz from }{\i\f0\fs16 A Teacher\rquote s Guide to the Multigenre Research Project. }{\f0\fs16 Portsmouth, NH: Heinemann. 
\par }\pard \s20\qj\ri2765\sl-300\slmult0\nowidctlpar\tx7020\faauto\rin2765\lin0\itap0 {\f0\fs16 \sect }\sectd \margrsxn907\margtsxn1440\margbsxn245\sbknone\linex0\sectdefaultcl \pard\plain \s15\qr\ri1865\sl-300\slmult0\nowidctlpar
\tx7020\faauto\rin1865\lin0\itap0 \f18\cf1\lang1033\cgrid {\f0\cf0                  }{\b\f0\fs22\cf0 HANDOUT 4A 
\par }\pard \s15\qj\ri1872\sl-280\slmult0\nowidctlpar\tx7020\faauto\rin1872\lin0\itap0 {\b\cf0 \page }{\f0\fs21 Try writing a list based on one of the explorer pieces (or any other appropriate piece 
of literature) in our literature unit. Reread the journal excerpt. As you do, take special note of ideas, objects, or sensory images that might reveal the essence of the explorer\rquote s experience. 
\par 
\par }\pard\plain \s21\qj\ri1872\sl-280\slmult0\nowidctlpar\tx7020\faauto\rin1872\lin0\itap0 \f18\lang1033\cgrid {\b\f0\fs21 Thinking Ahead }{\f0\fs21 
\par If you do your multigenre research paper on Shirley Temple Black, you might use listing to tell about a certain aspect of her life. For instance, you might create a list about her life as a child star with all of it positives and negatives; you might writ
e one about all her roles from characters in movies to mother to ambassador, and so on. I think it is important in the beginning to give a sentence or two\emdash or a title\emdash 
to get us thinking along the right lines, or maybe you can do what Rogers and Hammerstein did, repeat a line that tells the relationship among the items on the list. Though, you might not have to do anything like that to make your idea clear.
\par }\pard\plain \s15\nowidctlpar\faauto\rin0\lin0\itap0 \f18\cf1\lang1033\cgrid {
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\par }\pard\plain \s23\qj\ri2495\sa245\nowidctlpar\faauto\rin2495\lin0\itap0 \f18\lang1033\cgrid {\b\f0 Double-Voice }{\f0 
\par }\pard\plain \s22\qj\ri2495\sa113\sl240\slmult0\nowidctlpar\faauto\rin2495\lin0\itap0 \f18\lang1033\cgrid {\f0\fs22 Double-voice writing is used to convey two perspectives or viewpoints on something\emdash two people\rquote 
s viewpoints; two conflicting views within a person as he or she struggles with his or her conscience or tries to make a decision; a person\rquote 
s reaction to something he or she is viewing or experiencing, and so on. You can present this type of writing: 
\par }\pard\plain \s15\fi-270\li450\ri2495\nowidctlpar\faauto\rin2495\lin450\itap0 \f18\cf1\lang1033\cgrid {\f0\fs22\cf0 1. \tab in two columns, 
\par 2. \tab in regular type and italics or bold type, or 
\par 3. \tab with information mixed in with questions or comments about the information. 
\par }\pard \s15\ri2495\nowidctlpar\faauto\rin2495\lin0\itap0 {\f0\fs22\cf0 
\par }\pard\plain \s23\qj\ri2495\sa245\sl240\slmult0\nowidctlpar\faauto\rin2495\lin0\itap0 \f18\lang1033\cgrid {\f0\fs22 In her project, Kathryn Vickery\rquote 
s double-voice piece takes us inside two very different rave experiences, those of fictional Mike and Liz: one rapt and animated; the other withdrawn and horrified. Kathryn wrote her piece in two colors\emdash 
the title in both; the by-line assigning each speaker a color; and each line identifying speaker by color. Here I will identify speakers by font. 
\par }\pard\plain \s15\qc\fi-3\ri2495\sl220\slmult0\nowidctlpar\faauto\rin2495\lin0\itap0 \f18\cf1\lang1033\cgrid {\f0\cf0 F}{\i\f0\cf0 i}{\f0\cf0 r}{\i\f0\cf0 s}{\f0\cf0 t }{\i\f0\cf0 R}{\f0\cf0 a}{\i\f0\cf0 v}{\f0\cf0 e}{\f0\fs22\cf0 \line }{\i\f0\fs22\cf0 
By }{\f0\fs22\cf0 Mike and }{\i\f0\fs22\cf0 Li}{\f0\fs22\cf0 z
\par }\pard \s15\fi205\li1443\ri2495\sl220\slmult0\nowidctlpar\faauto\rin2495\lin1443\itap0 {\f0\fs22\cf0 
\par }\pard \s15\fi-180\li180\ri2495\sl220\slmult0\nowidctlpar\faauto\rin2495\lin180\itap0 {\f0\fs20 I walk in}{\fs20 
\par }{\i\f0\fs20 walk in}{\i\fs20  }{\fs20 
\par }\pard\plain \s16\fi-180\li180\ri2495\sa245\nowidctlpar\faauto\rin2495\lin180\itap0 \f18\lang1033\cgrid {\f0\fs20 and gasp in delight 
\par }{\i\f0\fs20 gasp in shock }{\f0\fs20 
\par bright, colorful, pulsating lights surround me 
\par }{\i\f0\fs20 piercing lights bombard my vision, blind me }{\f0\fs20 
\par music, hypnotic, swallows my senses, draws me toward its source 
\par }{\i\f0\fs20 insane pounding in my head\emdash I want to scream }{\f0\fs20 
\par }\pard\plain \s18\fi-180\li180\ri2495\sa180\nowidctlpar\faauto\rin2495\lin180\itap0 \f18\lang1033\cgrid {\f0\fs20 the beat is unstoppable; it rips through the crowd to me\emdash a personal invitation to join\line this party
\par }\pard\plain \s19\fi-180\li180\ri2495\sa420\nowidctlpar\faauto\rin2495\lin180\itap0 \f18\lang1033\cgrid {\i\f0\fs20 noise without a purpose grates on my fragile nerves, never-ending }{\f0\fs20 
\par }\pard\plain \s15\fi-180\li180\ri2495\sl200\slmult0\nowidctlpar\faauto\rin2495\lin180\itap0 \f18\cf1\lang1033\cgrid {\f0\fs20\cf0 the dancers make room for one more in their midst, their vibes engulf my insecurities and I let go 
\par }\pard\plain \s18\fi-180\li180\ri2495\sa180\nowidctlpar\faauto\rin2495\lin180\itap0 \f18\lang1033\cgrid {\i\f0\fs20 wishing to disappear, I find a wall to lean on and shut my eyes against the insanity surrounding me }{\f0\fs20 
\par }\pard\plain \s19\fi-180\li180\ri2495\sa420\nowidctlpar\faauto\rin2495\lin180\itap0 \f18\lang1033\cgrid {\f0\fs20 bodies rock to the all-powerful music, we are bound together 
\par }{\i\f0\fs20 the crowd melts together, blurry and pricked with light as tears fill my eyes }{\f0\fs20 
\par I don\rquote t want this night to end, but the morning brightens 
\par }{\i\f0\fs20 my body and mind are numb from crouching and the perpetual beat of screaming music }{\f0\fs20 
\par music gradually fades, we slow our dancing 
\par }{\i\f0\fs20 glassy eyed dancers stumble to the door\emdash half deaf and sweaty }{\f0\fs20 
\par }\pard\plain \s18\fi-180\li180\ri2495\sa180\nowidctlpar\faauto\rin2495\lin180\itap0 \f18\lang1033\cgrid {\f0\fs20 still full of the energy I\rquote ve received, I hardly notice the friend I\rquote d come with crouched miserably in a corner 
\par }\pard\plain \s19\fi-180\li180\ri2495\sa420\nowidctlpar\faauto\rin2495\lin180\itap0 \f18\lang1033\cgrid {\i\f0\fs20 I glance up to find my deserter staring vacantly down at me with a huge grin }{\f0\fs20 
\par sticking out a hand to help I pull my friend up and walk out 
\par }{\i\f0\fs20 I\rquote m so tired, I can barely stumble after }{\f0\fs20 
\par }\pard \s19\fi-180\li180\ri2495\sa420\nowidctlpar\tx2700\faauto\rin2495\lin180\itap0 {\f0\fs20 I loved it \tab 
\par }\pard \s19\qj\fi-187\li187\ri2491\sa420\nowidctlpar\faauto\rin2491\lin187\itap0 {\i\f0\fs20 hated it 
\par }\pard\plain \s15\nowidctlpar\faauto\rin0\lin0\itap0 \f18\cf1\lang1033\cgrid {
\par }\pard \s15\ri2495\nowidctlpar\faauto\rin2495\lin0\itap0 {\f0\fs22\cf0 
\par }\pard\plain \s24\ri2495\sa102\sl200\slmult0\nowidctlpar\faauto\rin2495\lin0\itap0 \f18\lang1033\cgrid {\f0\fs16 \u169\'a92006 by Melinda Putz from }{\i\f0\fs16 A Teacher\rquote s Guide to the Multigenre Research Project. }{\f0\fs16 
Portsmouth, NH: Heinemann. 
\par }\pard \s24\qj\ri2495\sa102\sl200\slmult0\nowidctlpar\faauto\rin2495\lin0\itap0 {\f0\fs16 \sect }\sectd \sbknone\linex0\sectdefaultcl \pard\plain \s15\qj\li5490\ri2495\nowidctlpar\faauto\rin2495\lin5490\itap0 \f18\cf1\lang1033\cgrid {\b\f0\fs22\cf0 
HANDOUT 4B }{\f0\fs22\cf0 
\par }\pard\plain \s22\qj\ri2495\sa113\nowidctlpar\faauto\rin2495\lin0\itap0 \f18\lang1033\cgrid {\f0\fs12 \line 
\par }\pard\plain \s15\qc\ri2495\sa860\nowidctlpar\faauto\rin2495\lin0\itap0 \f18\cf1\lang1033\cgrid {\f0\fs12\cf0 
\par }\pard\plain \s23\qj\ri2495\sa245\sl240\slmult0\nowidctlpar\faauto\rin2495\lin0\itap0 \f18\lang1033\cgrid {\f0\fs22 To practice this kind of writing, as well as to explore the ideas in Jonathan Edwards\rquote  }{\i\f0\fs22 
Sinners in the Hands of an Angry God}{\f0\fs22  (or any other appropriate piece of literature) try the following: 
\par }\pard \s23\qj\li245\ri2736\sa245\sl240\slmult0\nowidctlpar\faauto\rin2736\lin245\itap0 {\f0\fs22 In his complicated sermon during the Great Awakening, Jonathan Edwards raises some key points to convince his listeners/readers. In his voice, list some
 of the main ideas he presents. You may quote him directly or paraphrase his words. Then decide upon a second voice who might respond to these. Imagine the thoughts going through this person\rquote s head as s/he sits in Edwards\rquote 
 congregation. It could be almost anyone\emdash a member of the congregation at the time Edwards preached? A modern-day teenager? The President of the United States? A sinner? You? 
\par }\pard\plain \s20\qj\ri2495\sa1845\sl203\slmult0\nowidctlpar\faauto\rin2495\lin0\itap0 \f18\lang1033\cgrid {\f0\fs22 Decide whether you will present your piece in two columns, with two different types of font, or in some other way t
hat distinguishes the speakers and thinkers. 
\par }\pard\plain \s15\nowidctlpar\faauto\rin0\lin0\itap0 \f18\cf1\lang1033\cgrid {
\par }\pard\plain \s21\qj\ri1865\sl-300\slmult0\nowidctlpar\tx7020\faauto\rin1865\lin0\itap0 \f18\lang1033\cgrid {\f0\fs21 
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\par }\pard \s20\qj\ri1865\sl-200\slmult0\nowidctlpar\tx7020\faauto\rin1865\lin0\itap0 {\f0\fs16 \u169\'a92006 by Melinda Putz from }{\i\f0\fs16 A Teacher\rquote s Guide to the Multigenre Research Project. }{\f0\fs16 Portsmouth, NH: Heinemann. 
\par }\pard\plain \s15\qj\ri1865\sl-300\slmult0\nowidctlpar\faauto\rin1865\lin0\itap0 \f18\cf1\lang1033\cgrid {\b\f0\fs22\cf0                                                                                       HANDOUT 4A }{\i\f0\fs16\cf0  (continued) }{
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